Various Guitarists: The Middle of Everywhere: Guitar Solos Vol. I

Produced by laudable guitarist/composer Joel Harrison and the Alternative Guitar Summit, The Middle of Everywhere: Guitar Solos Vol. 1 is a compelling exploration of the intersections between jazz, classical and world music traditions—think of it as a musical United Nations, where six-stringed diplomats from various genres come together to harmonize. In the album liners, Harrison states, "The idea for this project started when I presented a concert of virtual solo performances from around the world during the pandemic." Hence, it represents a culmination of Harrison's extensive background in diverse musical genres and his deep commitment to pushing the boundaries of guitar performance.

The album opens with Fareed Haque's exquisite acoustic guitar piece, "Seven Loves," where he mixes classical articulations with melodic improvisational sequences. It is a composition that demonstrates technical prowess and emotional depth. Haque's fingers dance across the fretboard with the grace of a ballet dancer with six strings for legs—pirouetting from note to note with dizzying precision. Liberty Ellman's low-volume electric guitar work on "Siete Ocho" shines via complex single-note lines that frame the principal melody amid angular chord progressions and crystal-clear voicings. Think of an up-tempo ballad here, or perhaps a hummingbird trying to navigate a labyrinth.

Mid-way through, Kurt Rosenwinkel's "Philly Minions" is a jazzy soundscape that is as unpredictable as a weather forecast in April. He is all over the guitar and gels with a down-to-earth storyline, brimming with numerous peaks, valleys and winding mountain roads—it is like taking a musical road trip with a jazz GPS. Anthony Pirog's "Desire Waltz" is a haunting, reverb-tinted electric tome with reverse-engineered chord progressions, and distortion-heavy EFX, executed with doomsday-type chops, as if Pirog decided to waltz with the apocalypse and invited us all to watch.

The final track is performed by quintessential avant-gardist Henry Kaiser, highlighting his unclassifiable technique, containing vanishing notes, and manifold picking maneuvers. Indeed, it is a standout track.

The album's pacing can appear uneven as the lack of variety in tone and mood across many pieces can make parts of the listening experience feel monotonous. While highlighting the guitar's versatility, the diversity of styles and approaches can feel a bit disjointed with certain pieces blending into each other rather than building a coherent narrative or journey. Yet these elements usually inhabit similar productions that present divergent styles with one instrument coalescing into many contiguous tracks.

In sum, The Middle of Everywhere: Guitar Solos Volume 1 is certainly a worthwhile listen for guitar enthusiasts and those who appreciate technical skill. It is a commendable effort that serves as a solid showcase of guitar solos but falls short of being a truly memorable experience.

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